Tricks With A Suami Gimmick

No. 1. The Spectator as the Telepathist

This is a principle that may be applied to several effects. It is one of the finest tricks you can use as the plot reverses the normal procedure of mental magic—and makes it appear that the spectator reads your mind—instead of you, as normal, reading theirs. It is best performed after one or two effects of Mentalism have been shown. It is offered to the audience as 44 conclusive evidence" that thought reading must be possible—and proved when they read your thoughts.

After suitable opening spiel, you take the card and pretend to write on it four numbers. The spectator is asked to try and receive " these numbers as you 44 send " them one at a time. You hand them another card and a pencil. If you are an exponent of Pencil reading, you have a miracle on your hands—simply by reading each number as they write and filling it in with the Swami. If not, you can work one of two different ways. After you say, 44 I'm sending the first number now " you pause, then enquire 44Have you got it—what have you written" and when the answer is received, gaze at your card and knowingly state 44 Hmm. not bad—let's try the next You can fill that number in while you gaze or, send the four numbers and finally ask as you walk towards the spectator *4 and what did you get ? " so that by the time you get there, ready to hand over your card, the same numbers are written on your one. The pencil reading method is by far the hardest—but by far the best as you do not ask any questions at any time ! (CORINDA'S 44 STEP TWO " DEALS WITH PENCIL READING.)

No. 2. First Variation of the No. 1 Principle

With the same principle of having the spectator read your mind, to get away from numbers—if you want to (there is nothing really wrong with using them) you may work on a name, sending it letter by letter. To add to the value of the effect it is a good thing to have the two cards handed to another spectator to check.

No. 3. Second Variation of the No. I Principle

A date is to be transmitted ; as a precaution that you cannot exchange coins once the experiment is started, you record on a small slip of paper the date you have in mind. This is then sealed between two pennies and held at the fingertips. You adopt the same sending procedure as for No. I. To perform this effect you will require a special penny that I believe was invented by B. Hull. It is like one coin from a stack of pence, having a round hole cut from the centre. You place the written slip on an ordinary Penny and cover it with the fake. You can then write on the slip through the hole.

No. 4. Straight to the Point

The next few tricks are more or less 14 quickies They come straight to the point and therefore make good opening effects. Before I deal with the tricks, I would like to point out that there are numerous variations of this principle and there is no necessity whatsoever to copy effects used by other people. A leading Mentalist in this country makes a point of using a variation of this principle and I am constantly disgusted that so many must copy the one effect he uses when there are so many equally as good variations. Try and be different.

As soon as you have finished your 44 Good evening, Ladies and Gentlemen" point straight at one person—shout 44 you sir—close your eyes—call out the first number to enter your head "—write that on a card you are holding in view and toss is to him to read and call out loud. That effect should take about 15 seconds.

As variations of this technique, you can call for colours, names, words and so on. Another slightly longer variation is the Change in the Pocket. You ask a person to count how much they have in loose change and that amount is predicted. The same 44 straight to the point" technique can be used when several spectators are involved ; one man is asked to stand and add up mentally any numbers called by the audience (digits) after about six to ten are called he declares the total which you have on your card as a prediction.

No. 5. A Stage Trick

You have three cards, on each one you pretend to write something and then put them aside in full view of the audience—but not showing your supposed writing. The backs of the card which the audience see, can be numbered 1, 2 and 3. You have nothing visible in your hands—point to any person and call for any colour—point to another—and call for a city— point to the last and ask for a date. In the time it takes you to pick up the card and say 44 You sir, were number One and you called out the colour Red "—you have the answer44 Swamied " on !

No. 6. The impact of the Swami Gimmick used in Mentalism is so strong that at times it appears you must be using a stooge. You can help to eliminate this hypothesis by making it obvious your assistants are selected by chance. A method is to have numerous ping pong (table tennis) balls. Each is numbered differently from one to ten. Throw them into the audience and ask a person who has not caught a ball to call out a number—whoever has that number is used. This is quite a useful dodge when you are getting paid for the time you are on ! Throw the balls out—when you have the spectator chosen, ask him to gaze at the ball and imagine it to be a globe— suggest a globe of the world. Tell him he can see places ; countries, cities, towns and villages—tell him to travel in his mind and keep moving until you call stop. At the moment when your showmanship thinks best, call 44 stop " and then quickly 44 Name the place where you stopped That place you record gracefully on a card sealed within a window envelope. The ping pong ball has thus served its purpose in two good ways and warranted its use.

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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